Ocean Way Drums incorporates natural room ambience, high resolution audiophile sound and extended flexibility to make the industry standard in sample drum kits. Ocean Way Drums is the world's... Click To Read More About This Product
Ocean Way Drums incorporates natural room ambience, high resolution audiophile sound and extended flexibility to make the industry standard in sample drum kits. Ocean Way Drums is the world's finest sounding Virtual Drum Instrument. It combines the sound of a legendary studio and Grammy-winning multi-platinum engineering, with top sound designers.
Ocean Way Drums is the brainchild of studio owner Allen Sides, one of the audio industry's most esteemed figures. The concept is simple: make the sound of Ocean Way, the world's most awarded studio complex, available to artists who are serious about their music. An enormous library of killer sounds is available via the 19 kits, each with 12 presets in both snare-on and snare-off versions. These presets instantly provide shocking impact and spatial depth. And for those who want to experiment, adjustments to the individual instrument faders and stereo sub mixes offer unlimited possibilities. Imagine booking time in one of the world's most revered rooms, using the best sounding drums and then having multi platinum engineer/producers record and balance your session. Ocean Way Drums can help your music sound like a million bucks.
Creating The Ultimate Expressive Drum Kit
Allen Sides and Steven Miller chose to collaborate with Sonic Reality because they demand the very best. Ten years ago, Sonic Reality created the first high-end drum kit sample library that incorporated expressive performance articulations of the drum hits across the keyboard. Sonic Reality's proprietary I-Map technique is the gold standard of drum mapping. And for Ocean Way Drums, an additional, state-of-the-art map was created just for Roland V-Drum users.
A Tour of the Library
There are two types of patches included in Ocean Way Drums:
Instruments and Multis. Instruments are individual drums (Kick, Snare, Hat, etc.)
Multis are combinations of instruments specially picked and made into full drum kits.
The Instruments and Multis are then further broken up into two folders labeled IMAP and V-Drum. The IMAP material has been programmed to be used with a keyboard while the V-Drum material was programmed to usewith Roland's electronic V-Drum kit.
I-MAP is a proprietary MIDI note-mapping/drum kit layout scheme developed by Sonic Reality that facilitates improved live performance of drum kits via MIDI keyboard input. I-MAP places drums in their most flexible and intuitive positions, allowing each of the fingers on both hands independent and coordinated control over the loaded kit. With very little practice, it is possible to lay down complete drum grooves in a single take that have incredible feel and groove. Having Ocean Way Drums mapped over the I-MAP gives the user an amazing amount of versatility and creativity having dedicated keys for rolls, ghost notes, cymbal swells and alt hits just to name a few.
The V-Drum Instruments and Multis have been carefully programmed to work with Roland's electronic V-Drum drum kit.
All the kits have been designed with a four-tom set in mind. Just like a real kitâyou have center, edge, and rim hits all programmed with a multitude of samples for great dynamic range and playability. The only difference between the IMAP and V-Drum kits is that no extra hits or rolls have been added to the V-Drum patches, virtually keeping the characteristics of a real drum kit.
Snare On and Snare Off
When first seeing Snare On or Snare Off, you may think that the only difference between the two is that the Snare drum simply has snares on or snares turned off. This is not the case. All of the Snares in Ocean Way Drums have the snares turned on. The difference between, say "Kit 1 â Snare On" and "Kit 1 â Snare Off" is the kick and toms. Snare On means that the kick and toms also have the snare rumble of the snare drum picked up the recording of the kick and toms.
The Multis Folder
The multis folder contains four sub folders: "IMAP â Snare On," "IMAP â Snare Off," "V-Drum Snare On," and "V-Drum â Snare Off."
Inside each of these folders you have two Multis for each kit making there a total of 38 Multis per folder. The only difference between the two multis per kit is the snare configuration changing from the 57 to C12A preset which we'll get into more later.
The Instruments Folder
Like the Multis folder the Instrument folder also contains two sub folders:
IMAP and V-Drum. Inside those sub folders you have an individual folder for each actual instrument (Kick, Snare, Hat, etc.) Just inside these folders you will find all of the individual split-out instruments per kit. Each of these instruments can be opened individually or brought in to replace an instrument inside a preexisting Multi.
About Sonic Reality Inc.
Sonic Reality HQ
For over 10 years the team at Sonic Reality Inc. has been sampling, programming and developing sound libraries and software for sound companies, keyboard manufacturers and successful recording and performing artists. Sonic Reality (SR) creates virtual musical instruments and production tools that can be used with today's digital samplers and Mac/PC software samplers, sequencers, and digital recorders.
Sonic Reality was started in 1996 in Los Angeles by keyboardist/producer Dave Kerzner. With years of experience sampling and programming sounds for touring and recording artists as well for major keyboard manufacturers like Alesis, Roland, and Yamaha, Dave put his love for sampling everything onto the first Sonic Reality CD-ROMS for hardware samplers which were, and still are, distributed by ILIO worldwide. In 2001 Dave and Sonic Reality teamed up with IK Multimedia to create joint virtual instrument/soundware products based on IK's SampleTank engine.
Over the years they have created some of the most popular workstation plug-ins such as Sonik Synth and Miroslav Philharmonik (in 2004 Sonic Reality participated in exclusively buying out the legendary Miroslav Vitous orchestra and choir archives). Sonic Reality has also become a premier developer of refills for Propellerheads' Reason with its Sonic Refill and Miroslav Refill serieses.
Sonic Reality's track record of sound licensing reads like a who's who of the MI industry, having created sounds for factory banks and bundles with hardware and software from IK Multimedia (SampleTank), Propellerheads (Reason 3&4), Yamaha (EX5, Motif), Digidesign (ProTools Ignition Pack), Steinberg (HALion One), Native Instruments (Kontakt 2, Bandstand). Emagic (EXS24), Cakewalk (Project 5, Dimension), Mackie (Tracktion 3), Roland (Vintage Expansion Boards), Alesis (QS Series), Bitheadz (Unity DS1, Tubes, Tines & Transistors), Camel Audio (Cameleon CA5000), M-Audio (ProSessions Premium), Clavia (Nord Wave) and many more.
Staying true to Sonic Reality's motto of "Sample Everything," Dave has taken SR into a new direction of high-end sound products collaborating with the best studios, musicians, engineers, and producers in the industry to bring out products like the Ocean Way Instrument Series and Studio ProFile Multitrack Drum Kit and Groove collections. From thousands of highly affordable and downloadable Rexes, Apple Loops, and Waves to the multi-gigabyte top-of-the-line sound products such as Ocean Way Drums, Sonic Reality is covering all of the sound needs for the new computer musician to the top pro. Top quality sounds for every style of music.
David Kerzner, C.E.O./Producer
Dave Kerzner, founder of Sonic Reality, has a key roll in and oversees all production at SR from the original sample sessions to the final product. His experience in the sound and music industry extends back to the first days of digital sampling and he has provided both sample content and patch programming for some of the most popular keyboards, modules, and expansion cards/boards for major manufacturers such as Yamaha, Alesis, Roland, and more.
As a keyboardist, producer, and composer, Dave has worked with a wide range of artists; producers; and music, TV, and film companies. From custom programming sounds and providing vintage keyboards for The Smashing Pumpkins, Crowded House, Black Crows, Ringo Starr, Sam Phillips, T-Bone Burnette, Madonna, Barbara Streisand, Celine Dion, Beyonce and many others to playing keyboards with Kevin Gilbert (Toy Matinee, Sheryl Crow), L. Shankar (Peter Gabriel, U2, Phil Collins), and other bands during the 10 years spent in Los Angeles, Dave brings real-world expertise to Sonic Reality that helps make the products what they are. Dave's vision for Sonic Reality is to provide a valuable source of virtual playable musical instruments that offer a high level of production capability that would otherwise be very difficult and expensive to obtain.
About Ocean Way Recording Studios
Ocean Way Studio Entrance
Ocean Way Recording is comprised of three studio complexes: Ocean Way Hollywood, Record One in Sherman Oaks, and Ocean Way Nashville. With music mixing and scoring rooms, and a mastering suite, Ocean Way Hollywood is the most awarded studio complex on the West Coast. The studios offer remarkable sounding rooms, plus unique custom equipment and impeccable electronic maintenance. Ocean Way features the largest vintage tube microphone collection in the US and a conscientious staff of professionals.
LA's Ocean Way/Record One studios recorded the Record of the Year three years in a row starting with Bonnie Raitt's "Nick of Time," followed by Natalie Cole's "Unforgettable," and Whitney Houston's "I Will Always Love You" (The Bodyguard). The studios have won many Mix magazine's Studio of the Year TEC Awards for technical excellence and creativity.
Exquisite albums such as Quincy Jones "Back on The Block," and Michael Jackson's "Bad," "Dangerous," and "History," all of which won Grammies for the best engineered record of the year, attest to Ocean Way's truly state-of-the-art facility. Ocean Way's attention to detail and the ability to accommodate diverse sessions are major factors in Ocean Way's three decades of continued success, whether for a 50-piece scoring session, a multi-channel film mix, or a rock tracking.
Allen Sides is not only the owner of successful studios at Ocean Way and Record One in Los Angeles, he is also one of the most respected engineer/producers in the music industry. Sides began his distinguished recording career in 1968 and opened his first studio, Ocean Way, in Santa Monica, 1973. In 1977, he purchased the renowned United Recording and relocated to Hollywood. In 1979, he acquired Western Recording and consolidated both venerable operations into Ocean Way. Record One became part of the Ocean Way family in 1988. In 1997, Ocean Way Nashville opened on famed Music Row.
As an engineer/producer, Sides has recorded over 400 albums and won 2 Grammys with five nominations. A brief list of some of the artists he has worked with include: Phil Collins, Green Day, Eric Clapton, Alanis Morrisette, Faith Hill, Trisha Yearwood, Wynonna Judd, Beck, Mary J Blige, Ry Cooder, Joni Mitchell, Frank Sinatra, Ray Charles, Count Basie, Duke Ellington. Ella Fitzgerald, John Williams, Jerry Goldsmith, Tom Newman, Andre' Previn, and Frank Zappa.
The Garage Days
In 1974, Allen Sides began building custom loudspeakers and leased a garage in Santa Monica as a hi-fi demo room. This garage was within steps of the pacific ocean and was situated on a street appropriately named Ocean Way. Since he knew exactly what kinds of sounds were most impressive on his speakers, Allen did limited live to two-track recordings as demo material. Subsequently, he sold numerous speaker systems to musicians and others within the industry thanks to those killer demo tapes.
During these speaker demos, many people became more interested in the recordings than the speakers and before long, those clients were asking Allen to make their recordings sound like his demo tapes. So in order to service those clients, Ocean Way Recording Studios was born. But in order to be a proper studio, Allen needed a recording console. And this is the point in time that the legend of Ocean Way truly begins â how Allen ended up purchasing Western Recorders' original tube console and came face to face with Bill Putnam.
Putnam was a true renaissance man in the world of sound and music. His combined skills as a record producer, engineer, inventor, writer, singer, technician, studio owner, and businessman are almost unparalleled to this day. A pioneer in recording studio acoustics, he was involved in the early development of stereophonic recording and is acknowledged to be the first person to use artificial reverberation for commercial recordings. He developed the first multi-band equalizers, and with his companies, Universal Audio and UREI, was responsible for the development of classic equipment like the 1176LN, LA-2A, and UREI Time Align monitors.
By the mid 50's, Putnam owned and operated the largest independent recording facility in the country, Universal Recording in Chicago. But with a large chunk of his business moving west, clients urged him to open a Los Angeles facility. An interesting sidelight is that Allen had a summer job as a runner at Western Recorders in 1969 but never actually met Bill. Needless to say, when Allen went in to meet Bill, he had no idea what to expect.
And as Allen explains, even in his wildest dreams, there was no way to ever anticipate what would take place. "When I walked into Bill's office, he gave me a long, stern look. That look eventually turned into a smile and he proceeded to offer me the exclusive rights to sell all surplus equipment for all his enterprises. Bill and I just clicked immediately and we became very good friends and business partners in the following years. Bill and I started buying out bankrupt and closed down studios throughout the country, including CBS and Wally Heider Studios in San Francisco, and RCA studios in Hollywood. Imagine being able to pick your pianos from 25 Steinways, your EMT's from 50 plates, and your tube mics from literally hundreds. It was an astonishing opportunity and I was a lucky dog to be at the right place at the right time."
Ocean Way Moves to Hollywood
As fate would have it though, a lease was just about to expire for Bill Putnam's Studio B in the United building. When Sides approached his friend about leasing the studio, Bill offered him a "sweetheart deal" on the space. Allen quickly redesigned and rebuilt the Studio B control room, and moved all his equipment in. Studio B was an astounding acoustic space and Allen was thrilled to get his hands on it. Bill felt that of all the rooms he had designed and built, this was his favorite and he was very pleased that his protÃ©gÃ© would carry on the tradition.
Early sessions ranged from Neil Diamond, Chick Corea, Bette Midler, and all the way to Frank Zappa. It was also during this time Allen began buying close to a thousand tube microphones from overseas. The European studios and broadcasters were dumping loads of "antiquated" tube mics for brand new phantom-powered transistor mics. He carefully went through every mic, picking the absolutely best of the best and selling off the rest. This is how, along with the mics from the previous studio buyouts, Ocean Way amassed one of the largest collection of tube mics in the world.
In 1982, The United Western Studios were still functioning, but because of health problems Bill had not been active in the operation for a few years. It was at this time that Bill also leased Studio A to Allen. Allen made a few changes and Studio A immediately became one of the most popular rooms in town again. One of the first projects was Lionel Ritchie's "Can't Slow Down," which sold 25 million records. A couple of years later, Allen finally talked Bill into selling him the United building at 6050 Sunset. It was a little difficult, because Frank Sinatra was part owner and Bill had to get Frank to agree to sell it.
Several years after that Bill Putnam sold his primary Companies and the new owners agreed to sell Allen the Western Building at 6000 Sunset and all the equipment it contained. Allen remembers walking down the halls of United Western studios for the first time â when he was 16 years old and it was the hottest studio in the country. "I certainly never dreamed at that time that I would eventually own the place!"
Record One Joins Ocean Way
In 1988, Allen was beginning to run out of space and luckily was able to purchase Record One Recording, which had been immensely successful with records like Toto's "Rosanna," Kim Carnes' "Betty Davis Eyes," and Linda Ronstadt's "Heart Like A Wheel," Sides moved in quickly, re-did the monitor systems to be more compatible with Ocean Way, and opened for business with two studios that contained very nice custom API consoles. Early projects included classic recordings by Don Henley and Bonnie Raitt.
Soon after that, Allen constructed the largest totally discrete Neve console in the world (112 input's with GML automation) for Quincy Jones's "Back on the Block".
Ocean Way now had seven rooms operating in LA plus their rental division "Classic Equipment Rentals" and "Ocean Way To Go," which specializes in setting up complete studios in houses anywhere a client may choose. Grammy winning producers like T-Bone Burnette , Don Was, Dr. Dre, Jack Joseph Puig and Rob Cavallo become regulars.
Ocean Way Nashville
In the early 90's, Allen wanted to expand into Nashville. Along with partner Gary Belz, he found a 1850's Greystone church and refectory building on a large lot. It was owned at that time buy an odd evangelist named Tony Alamo, who was in jail for tax evasion and a number of other questionable activities.
It offered a remarkable opportunity for Allen, as he was able to design all three control rooms from scratch. In the past, he had generally been constrained to modify and reconstruct existing control rooms with space limitations that made it difficult to get everything he wanted acoustically. Outdoing even his Record One console, Ocean Way Nashville opened in 1996 complete with gigantic, 146 input discrete Neve console!
Besides being the owner of Ocean Way and Record One studios in Los Angeles, Allen Sides is a highly respected, Grammy-winning engineer/producer that has worked with stars in every genre. Artists include Alanis Morrisette, Green Day, Eric Clapton, Beck, Quincy Jones, Phil Collins, Aerosmith, Aretha Franklin, Foo Fighters, Sheryl Crow, Frank Sinatra, Faith Hill, Frank Zappa, Lyle Lovett and Count Basie.
Steven Miller is a Grammy nominated producer/engineer and executive with a history of innovation and success that spans three decades. He helped build Windham Hill Records from a start up to a prestigious industry leader and later co-founded both the RCA/Novus and Windham Hill Jazz labels. Platinum artists he has worked with include Dave Matthews Band, Suzanne Vega, Backstreet Boys, Pink, George Winston, Switchfoot, Manhattan Transfer, Toad The Wet Sprocket and Paula Cole.
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